It may or may not be shit. But don't expect it to exactly come anywhere near the original. Hollywood's pillaging of 80s material is borne purely out of a lack of original ideas, retrograde nostalgia trips are the money makers now.

If they make a smart adaptation that doesn't try to cram in too much, it most certainly could work.That said, I'll wait and see how Blade Runner 2049 turns out. We've yet to see how Denis Villeneuve handles epic Sci-fi.

Animalmother wrote:I'm going to be controversial here...the books are very over rated and kind of boring.

"Dune" is one of my favorite books, I've read it at least four times. I tried the second in the trilogy and I think I remember slogging through it, the third I didn't make it a couple dozen pages in. Part of it for me was that the first book kinda wrapped it all up for me, not to mention the characters were so powerfully written, and practically all of them dead at the end of it all, that the rest of the series felt completely off. I guess I wasn't so interested in the world-building stuff after all my favorite characters were dead

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I am on a bit of a Bladerunner renaissance. Just finished the book Electric Sheep, currently reading the graphic novel (to compare and contrast the images to the ones in my head) and reading Paul Sammon's excellent book on the making of the film.

I agree that the film is a superior story to the book, the book does contain a lot of elements of world building that is fascinating such as Mercer, mood organs and robotic animals. My takeaway is that the book and film can comfortably sit in the same universe and tell two differing stories. I did not find the book boring but there are aspects of the book that date it to the 60s like things people say or do.

Looking forward to seeing this given it has good reviews. Can this actually be a sequel that doesn't fuck it up ?

Games playing : Alan Wake American Nightmare / Metro 2033 / Total War Thrones Of Britannia / Warlock Of Firetop Mountain / Orcs Must Die / 2000:1 A Space Felony

How miraculous, then, that Blade Runner 2049 emerges not only as a film that complements the original – and arguably deserves to be mentioned in the same breath as Ridley Scott’s seminal masterpiece – but also stands as a spectacular story all by itself. Denis Villeneuve, who previously directed the likes of Incendies, Prisoners, Enemy, Sicario and Arrival, is again on career-best form here; he’s joined by a group of actors and filmmakers who are all operating at the height of their own creative powers.

Villeneuve (along with his screenwriters Hampton Fancher, back from the original film, and Michael Green) has made the kind of movie that seems almost impossible to pull off these days: a $100-million-plus extravaganza that’s more art film than cookie-cutter action spectacle. Shot by legendary cinematographer Roger Deakins, every image in 2049 is gorgeous and dripping with color, life, and feeling. Indeed, the film’s nearly three-hour running time may seem daunting to those going in, but it’s mostly earned, allowing the director to fully realize the mood and atmosphere of the piece.